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In this episode of our This Is A Voice podcast, we do something we've never done before.

We have a “special guest”, not in the studio but on a recording, one that hasn't been played for more than 40 years. You'll have to listen to the first few minutes to discover who the special guest is!

This conversation goes straight into the stuff singers quietly carry:
The feeling that “good enough” is a place you never reach.
How training can install a deficit narrative.
Why the master-apprentice model can turn learning into permission-seeking.
How confidence regresses when the teacher-student dynamic isn’t handled with care.

There’s also a very practical tangent Gillyanne and I both care about.
If you never sing music with scales written in them, stop treating scales like the goal. Build exercises from the repertoire you actually perform. Stop singing scales, start practising riffs!

We close the episode with a second archival excerpt. Same “special guest”. Same question underneath it all.
What would change if you stopped auditioning for permission, and started making music from ownership?

***Apologies for the slightly variable sound quality, our microphones weren't working properly***

Credits
Archival excerpt 1, Handel (German aria excerpt “Meine Seele hört im Sehen”)

Archival excerpt 2, Mozart (Concert Aria K490, "Non temer, amato bene")

Special guest singer: ???
Violin: Penelope Wayne Shapiro
Piano: Jamie Clarke
Recorded 1983

Master-Apprentice Survey link: https://www.cognitoforms.com/VocalProcess1/Master-Apprentice-Model-In-Singing-Teaching

The Birmingham Vocal Coach blog on Rethinking Vocal Coaching https://www.thebirminghamvocalcoach.co.uk/blog


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